Ákos <i>Orosz </i>

Ákos Orosz


"perhaps there is no other young actor in the country whose gestures, every move and word, is so natural and human"
— Origo.hu

Schiller: The Robbers

Pesti Színház, 2016
"Playing Franz Moor, the evil son brilliantly, Ákos Orosz exhibits how perfectly he shall be able to perform Richard III in a couple of years (the claim hereby announced), moreover he goes even further: the boy crowning his physical ungracefulness with spiritual depravity not only blemishes his brother and takes away his love, but sets out to extinguish even his memory."
— Revizor (Tamás Jászay)


"(…) perhaps there is no other young actor in Hungary today whose each gesture, each move and word is so natural and human, and who can make such an everyday phenomenon that someone being quite lost in an unknown surrounding so liveable, so familiar and thus so fascinating."
— Bálint Kovács (Origo.hu)

Molnár: Liliom

Vígszínház, 2018
"Ákos Orosz as Ficsur brings such a unique figure that it is challenging not to pay attention to him even when he is in the background of the stage."
— Corn and Soda (Attila Csizmadia)


"Gratitude is due to the creators of the film for finally giving us the gift of seeing one of the best young actors of Hungary, Ákos Orosz, in a lead role. He is known to film enthusiasts in addition to theatregoers, as he has appeared in a number of movies and TV series already, but never before as the lead. Artistically the greatest contribution of Kilakoltatás is finally letting Orosz bring his acting virtuosity to a main character, and he does not disappoint. His Richárd is as determined as he is vulnerable, and he is as desperate and pitiable as he irritating"
— PORT.hu (Judit Vajda)

Ionesco: Macbeth

Cultural Brigade, Atrium, 2015
"As Macbeth, Ákos Orosz brilliantly performs the hyperactive, power maniac who emerges from a lackey to a King, no less a Pentecostal."
— Rita Veronika Kónya (Euronews)

Ionesco: Macbeth

Cultural Brigade, Atrium, 2015
"Ákos Orosz’s performance is of first class, he easily alternates between the shades of terrifying and funny, never mistaking the overall impact: the poor narcissism of rampant power ambition."
— Judit Csáki (Revizor)

Dostoevsky: The Idiot

Pesti Színház, 2018
"In Rogozhin’s skin, he is present on stage with every fiber, he breathes along with the character. One can be an overwhelmed witness of him mastering his transfiguration: he takes incredible depths and heights through 2 and half hours. In front of our eyes, he comes undone, trembles, fears, aspires, shouts, and cries. He gives a taste of almost each phase of nerves of a man in love."
— Kortárs Online (Ágnes Jónás)

Dostoevsky: Crime and Punishment

Vígszínház, 2017
"Whereas Ákos Orosz owns an exceptionally intense acting potential, and he is able to keep his character being inside and outside, at the edge of reality and nightmare continuously in the centre of internal and external events."
— Revizor (István Nánay)